It is the best audiovisual adaptation ever produced of any comic book character. An unprecedented work, which presents the audience with the cheap melodrama that has always characterized the characters’ best stories. It’s a shame it’s only half an hour a week — I’d eat up hours and hours of what they’re offering.
The heroes are far from the most recognizable clichés among cartoons and films from other eras. These X-Men are tired, hurt, hurt. And they make mistakes, infidelities and betrayals. It is not new that mutants are successful because they are too human.
Villains who become good guys, heroes who abandon their families, dead people who come back to life, powers that return without explanation, hair that grows like magic, talaric clones. Science fiction with a little bit of carimbó, as Hermes and Renato would say.
It’s such a good soap opera that it even features a Brazilian millionaire with alcohol problems, practically the Heleninha Roitmann of acetate. And her big plot is wanting to keep her son in the closet as a mutant, serving as a metaphor for the many issues that comics have represented for decades.
José Inocêncio will need a bigger crammunhão if he wants to beat Professor Xavier’s class in this dispute! X-Men ’97 made Disney surpass Globo in the genre and is today’s biggest serial.
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